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Bucureşti 2013 Press Release Musical Allusions in Finnegans Wake Edited by C. George Sandulescu. Redacted by Lidia Vianu. In three volumes: ISBN 978-606-8366-48-7; 978-606-8366-49-4; 978-606-8366-50-0 Finnegans Wake has many names in it: they can be found in the linearized version of Adaline Glasheen’s Third Census that Contemporary Literature Press has just published. Finnegans Wake also has songs in it. Many songs: titles, lines, mere words, or simply rhythms that are detected instinctively by those who happen to see them. For those who do not, we are now publishing a book that aims at an inventory of all the music in the book: it is a heavily processed version of J. C. Hodgart and Mabel P. Worthington’s Song in the Works of James Joyce, published in 1959. The songs, too, point to something. They are doors that lead to meaning. Such connections between words, or just sounds, rather, and a large number of things that could only with difficulty be named, are the very essence of James Joyce’s Finnegans Wake. Musical Allusions in Finnegans Wake is, however, different from the other books we have published so far in our series of Joyce Lexicography. Those who know that Joyce was one of the best Irish tenors, yet he gave up singing in favour of writing, realize why. The connections between certain words and other words, whether titles of books, excerpts from them, names of authors, or simply words from another language are, eventually, a matter of spoken sounds. Hodgart and Worthington resort to using music instead. Surprisingly, this Lexicon, unlike all the others, almost ignores the different languages, which keep combining in Joyce’s book, and producing the strangest units of meaning. Some of the tunes are in Latin, some in French, some in Italian or German, but the vast majority are in English. Whether ballads, musical comedies, or opera, they can be recognized much more easily, and quite safely, we think, by many readers. Once you see them identified in this Lexicon, you will find little reason to disagree with Hodgart and Worthington, anyway. As a matter of fact, Joyce himself seems to have prepared his readers to recognize the songs: he repeatedly used exclamation marks, italics, either before or after them... The songs Joyce uses are not sophisticated at all. They are nursery rhymes, well-known English tunes usually taken over and made famous by Americans, more than famous Italian or French songs that everyone knows, and may have hummed mechanically at one time or another. We have taken the liberty of sending the reader to the melodies themselves, which abound on the Internet today ― a piece of gadgetry Joyce did not even dream of when all he had at hand was his radio set, or his own recollection of songs once sung or merely heard. The world of meanings that flow from these songs depends on each of us. As Henry James once put it in the famous preface to The Portrait of a Lady that aimed at defining the advent of Modernist Fiction, some will see more where others see less. We can only hope that these three volumes of Musical Allusions in Finnegans Wake will make the reader want to discover more. Once started, you will understand why and how Joyce’s words undoubtedly connect very closely with what is going on in the world today ― almost a century and a half after his birth. C. George Sandulescu and Lidia Vianu ISBN: 978-606-8366-49-4 © The University of Bucharest Cover Design, Illustrations, and overall Layout by Lidia Vianu © C. George Sandulescu Subediting : Alexandra Munteanu. Proofreading: Alexandra Munteanu, Violeta Baroană. © Matthew J. C. Hodgart and Mabel P. Worthington Typing: Violeta Baroană , Irina Borţoi, Sabina Cârnu, Daniela Chiriţă, Ana Dragomir, Iulia © Ole Vinding Mareş, Costin Mazilu, Alexandra Oancea, Ciprian Peia, Silvia Popa, Diana Voicu. IT Expertise: Simona Sămulescu, Cristina Petrescu. © Roman Jakobson Publicity: Violeta Baroană. Logo: Manuela Stancu. Acknowledgments N.B. The content of Column Four is aimed as both Cross Reference and Statistic Matthew J. C. Hodgart and Mabel P. Worthington: Song in the Works of Evidence. James Joyce. Published for Temple University Publications by Columbia N.B. This Lexicographic Series as a whole is primarily meant as teaching material University Press, New York 1959. for the larger half of Continental Europe, which, for practically three quarters of a century, was deprived of ready access to the experimental fiction and poetry of the Ole Vinding: ‘James Joyce in Copenhagen’, 1936. world. All Western literary criticism was also banned. Hence, the imperative necessity of re-issuing a considerable amount of post-war discussions. Roman Jakobson: ‘Coup d’oeil sur le développement de la sémiotique’. The Publisher. Opening address, in Seymour Chatman, Umberto Eco, Jean M Klinkenberg: A Semiotic Landscape. Panorama sémiotique Proceedings of the First If you want to have all the information you need about Finnegans Wake, including Congress of the International Association for Semiotic Studies, Milan June the full text of Finnegans Wake line-numbered, go to the personal site Sandulescu 1974 / Actes du premier congrès de l’association Internationale de Online, at the following internet address: Sémiotique, Milan juin 1974. De Gruyter, 1979. http://sandulescu.perso.monaco.mc/ Joyce Lexicography Volume Twenty-Two Musical Allusions in Finnegans Wake ALL Exemplified FW Part Two Edited by C. George Sandulescu Redactde by Lidia Vianu C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 1 __________________________ Table of Contents C. George Sandulescu Le signe est un renvoi. p. 8 The Sign is a Renvoi. Musical Allusions in Finnegans Wake. 65 FW Parts Two, Three and Four. Episode Nine 66 Episode Ten 111 Episode Eleven 145 Episode Twelve 222 Appendix One Ole Vinding: ‘James Joyce in Copenhagen.’ 236 Appendix Two Roman Jakobson: ‘Coup d’oeil sur le développement de la sémiotique.’ 263 Appendix Three The Times of London, Tuesday May 7 2013 (first page). 291 C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 2 __________________________ We have so far published in this James Joyce Lexicography Series: Volume: Title: Number Launched on: of Pages: Vol. 1. The Romanian Lexicon of Finnegans Wake. 455pp 11 November 2011 http://editura.mttlc.ro/sandulescu.lexicon-of-romanian-in-FW.html Vol. 2. Helmut Bonheim’s German Lexicon of Finnegans Wake. 217pp 7 December 2011 http://editura.mttlc.ro/Helmut.Bonheim-Lexicon-of-the-German-in-FW.html Vol. 3. A Lexicon of Common Scandinavian in Finnegans Wake. 195pp 13 January 2012 http://editura.mttlc.ro/C-G.Sandulescu-A-Lexicon-of-Common-Scandinavian-in- FW.html C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 3 __________________________ Vol. 4. A Lexicon of Allusions and Motifs in Finnegans Wake. 263pp 11 February 2012 http://editura.mttlc.ro/G.Sandulescu-Lexicon-of-Allusions-and- Motifs-in-FW.html Vol. 5. A Lexicon of “Small” Languages in Finnegans Wake. 237pp 7 March 2012 Dedicated to Stephen J. Joyce. http://editura.mttlc.ro/sandulescu-small-languages-fw.html Vol. 6. A Total Lexicon of Part Four of Finnegans Wake. 411pp 31 March 2012 http://editura.mttlc.ro/sandulescu-total-lexicon-fw.html Vol. 7. UnEnglish English in Finnegans Wake. The First Hundred 453pp 27 April 2012 Pages. Pages 003 to 103. Dedicated to Clive Hart. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-one.html Vol. 8. UnEnglish English in Finnegans Wake. The Second Hundred 280pp 14 May 2012 Pages. Pages 104 to 216. C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 4 __________________________ http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-two.html Vol. 9. UnEnglish English in Finnegans Wake. Part Two of the Book. 516pp 7 June 2012 Pages 219 to 399. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-three.html Vol. 10. UnEnglish English in Finnegans Wake. The Last Two 563pp 7 July 2012 Hundred Pages. Parts Three and Four of Finnegans Wake. From FW page 403 to FW page 628. http://editura.mttlc.ro/sandulescu-unenglish-fw-volume-four.html Vol. 11. Literary Allusions in Finnegans Wake. 327pp 23 July 2012 Dedicated to the Memory of Anthony Burgess. http://editura.mttlc.ro/sandulescu-literary-allusions.html Vol. 12. Finnegans Wake Motifs I. The First 186 Motifs from Letter A 348pp 7 September 2012 to Letter F. C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 5 __________________________ http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-1.html Vol. 13. Finnegans Wake Motifs II. The Middle 286 Motifs from 458pp 7 September 2012 Letter F to Letter P. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-2.html Vol. 14. Finnegans Wake Motifs III. The Last 151 Motifs. from Letter 310pp 7 September 2012 Q to the end. http://editura.mttlc.ro/sandulescu-finnegans-wake-motifs-3.html Vol. 15. Finnegans Wake without Tears. The Honuphrius & A Few 248pp 7 November 2012 other Interludes, paraphrased for the UnEducated. http://editura.mttlc.ro/sandulescu-the-honuphrius.html Vol. 16. Joyce’s Dublin English in the Wake. 255pp 29 November 2012 http://editura.mttlc.ro/sandulescu-dublin-english.html C.George Sandulescu: Musical Allusions in Finnegans Wake. FW Part Two. 6 __________________________ Vol. 17. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 269pp 15 April 2013 One A. http://editura.mttlc.ro/sandulescu-third-census-one-a.html Vol. 18. Adaline Glasheen’s Third Census Linearized: A Grid. FW Part 241pp 15 April 2013 One B. http://editura.mttlc.ro/sandulescu-third-census-one-b.html Vol. 19. Adaline Glasheen’s Third Census Linearized: A Grid.
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    HEROICS OF THE FALSE: A NEW LOOK AT NOIR JENNIFER S. BREUKELAAR A Creative Work and Thesis submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy. School of English, Media and Performing Arts, University of New South Wales. July 2007. ACKNOWLEDGMENTS Thanks are due to my supervisors Lisa Trahair and Anne Brewster. I would also like to thank Paul Dawson for overseeing the practical aspects of the thesis at the final stage. Thank-you also to Dan Edwards for discussions about film making software. I am grateful to Renu Rajpal for help with the Hindi. I would also like to thank Bob Stern for copy-editing the dissertation. Thanks to my agent Sandy Wagner for multiple readings of Viper, for her helpful comments and good faith. Among other things I am ever grateful to my parents, Margaret Reichenberger and Bob Stern for taking me to India. Thank-you to John Breukelaar for paving the way. Thank-you for reading and discussing this project ad nauseam, and most of all for your insights into how to complete it and why. For support that infinitely exceeded the call of duty, I would also like to thank my children, Isabella and Jack. CONTENTS ABSTRACT 4 PART I: THE NOVEL VIPER 5 PART II: THE DISSERTATION I: INTRODUCTION 232 II: A CRISIS OF CONFIDENCE 249 III: “IF THIS BE ART’S LIE” 296 IV: NOIR’S CHASMS 332 V: CONCLUSION 372 BIBLIOGRAPHY 377 4 THESIS ABSTRACT In this thesis I investigate the nature of noir subjectivity, and the degree to which it can be described as heroic.
  • Hamza Fekete Külvárosa Az Első Magyar Noir És Előzményei

    Hamza Fekete Külvárosa Az Első Magyar Noir És Előzményei

    Művészet 7 Gurzó K. Enikő HAMZA FEKETE KÜLVÁROSA AZ ELSŐ MAGYAR NOIR ÉS ELŐZMÉNYEI Egyre mélyebben beépül a köztudatba, hogy a filmrendező Hamza D. Ákost el- sősorban, mint kísérletezőt tartják számon a hazai művelődéstörténészek. Ha ennél pontosabban kívánunk fogalmazni, akkor filmstílusok- és műfajok magyarországi meghonosítójának kellene neveznünk. Valójában mindkét meghatározás helytálló és megalapozott. Többek között erre kívántam rámutatni azokon az előadásokon, ame- lyeket a januárban elindított Hamza Filmklub keretében tartottam meg a műsorra tű- zött moziművekhez kapcsolódóan. Mint minden hó utolsó keddjén, 2012. március 27-én is összegyűltünk a Gyön- gyösi úti kismúzeumban, hogy közösen nézzük meg az 1942-ben készült Külvárosi őrszobát, azt a fekete-fehér képkockákra írt társadalomkritikát, amelyet az első hazai film noir-jának minősít a szakirodalom. A rendezvény megfelelő alkalmat teremtett Hamza D. Ákos a Különös találkozás (Strano Appuntamento, 1950, Olaszország) tehát arra, hogy Hamza alkotásából kiindulva számba vegyem, mit hoztak létre ilyen téren a világ stúdiói, s milyen produkciókkal rukkoltak elő a hazai műhelyek. A diskurzus kiindulópontjának a film noir meghatározását tekintettem, hisz a me- lodráma, a krimi és a fekete film fogalma közti különbségek gyakran állították szem- be egymással még a gyakorlott műkritikusokat is. Körvonalaztam, hogy a film noir, 8 Művészet Kürtös Mihály (Michael Curtiz): Casablanca (1942) vagyis a fekete film az életmódban bekövetkezett változások (szerepcserék, új erköl- csi normák), a korrupció megerősödése, a háború elől Amerikába menekült európai filmesek, valamint a freudi tanok térhódítása következtében született meg az 1940-es években. Felvázoltam azt is, hogy a francia kifejezés jelentése fekete film, amit főként a hollywoodi bűnügyi drámák, krimik jellemzőjeként alkalmaznak, elsősorban azokra a művekre, amelyekben kiemelt jelentőségű az ambivalens erkölcs és a szexuális mo- tiváció.